Orchestration | EPFL Graph Search

Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble, such as a concert band) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g., melody, bassline, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra. In classical music, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this are Ravel's orchestration of Mussorgsky's solo piano work Pictures at an Exhibition and Malcolm Arnold's orchestration of William Walton's String Quartet in A minor, producing the latter's Sonata for Strings. However, in musical theatre, film music and other commercial media, it is customary to use orchestrators and arrangers to one degree or another, since time constraints and/or the level of training of composers may preclude them orchestrating the music themselves. The precise role of the orchestrator in film music is highly variable, and depends greatly on the needs and skill set of the particular composer. In musical theatre, the composer typically writes a piano/vocal score and then hires an arranger or orchestrator to create the instrumental score for the pit orchestra to play. In jazz big bands, the composer or songwriter may write a lead sheet, which contains the melody and the chords, and then one or more orchestrators or arrangers may "flesh out" these basic musical ideas by creating parts for the saxophones, trumpets, trombones, and the rhythm section (bass, piano/jazz guitar/Hammond organ, drums).

Data-driven Simulation Framework for Expressive Piano Playing by Anthropomorphic Hand with Variable Passive Properties

Josephine Anna Eleanor Hughes

The expressive piano playing generally requires a delicate control over the keystroke by considering passive dynamics of the hand and piano keyboard. It becomes even more challenging when the passive properties change during the performance. In this paper, ...

Institute of Electrical and Electronics Engineers Inc.2022

Studying teacher orchestration load in technology-enhanced classrooms: A mixed-method approach and case study

Pierre Dillenbourg, Kshitij Sharma

Teacher orchestration of technology-enhanced learning (TEL) processes plays a major role in students' outcomes, especially in face-to-face classrooms. However, few studies look into the fine-grained details of how such orchestration unfolds, the challenges ...

Springer2015

Classroom orchestration : The third circle of usability

Pierre Dillenbourg, Frédéric Kaplan, Patrick Jermann, Guillaume Zufferey, Sébastien Cuendet, Quentin Bonnard, Hamed Seiied Alavi, Lenh Hung Son Do

We analyze classroom orchestration as a question of usability in which the classroom is the user. Our experiments revealed design features that reduce the global orchestration load. According to our studies in vocational schools, paper-based interfaces hav ...

International Society of the Learning Sciences2011